Philosophy and the Novel

Alan H. Goldman

Abstract

Part 1, Philosophy of Novels, defends theories of literary value and interpretation. Literary value, the value of literary works as such, is a species of aesthetic value. Works have aesthetic value when they simultaneously engage all our mental capacities: perceptual, cognitive, imaginative, and emotional. This view contrasts with now prevalent narrower formalist views of literary value. According to it, cognitive engagement with novels includes appreciation of their broad themes and the theses these imply, often moral and hence philosophical theses, which are therefore part of the novels’ lit ... More

Part 1, Philosophy of Novels, defends theories of literary value and interpretation. Literary value, the value of literary works as such, is a species of aesthetic value. Works have aesthetic value when they simultaneously engage all our mental capacities: perceptual, cognitive, imaginative, and emotional. This view contrasts with now prevalent narrower formalist views of literary value. According to it, cognitive engagement with novels includes appreciation of their broad themes and the theses these imply, often moral and hence philosophical theses, which are therefore part of the novels’ literary value. Interpretation explains elements of works so as to allow readers maximum appreciation, so as to maximize the literary value of the texts as written. Once more this view contrasts with narrower views of literary interpretation, especially that which limits it to uncovering what authors intended. One implication of the broader view is the possibility of incompatible but equally acceptable interpretations, which is illustrated by rival interpretations of The Sun Also Rises. The theory of value is tested by explaining the immense appeal of good mystery novels in its terms. Part 2, Philosophy in Novels, explores themes relating to moral agency—moral development, motivation, and disintegration—in Pride and Prejudice, Huckleberry Finn, The Cider House Rules, and Nostromo. By narrating the course of characters’ lives, including their inner lives, over extended periods, these novels allow us to vicariously experience the characters’ moral progressions, positive and negative, to learn in a more focused way moral truths, as we do from real life experiences.

End Matter

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